MAM
Poonawalla Fincorp’s Raksha Bandhan film redefines sibling bond
Mumbai: Poonawalla Fincorp Ltd, a Cyrus Poonawalla group promoted non-deposit taking systemically important non-banking finance company (ND-SI-NBFC), released a special film on the occasion of Raksha Bandhan to celebrate the unique bond between a brother and a sister and how the relationship has evolved with changing times. The film narrates some heart-touching moments between a sibling duo and highlights the pivotal role played by the sister in fulfilling her brother’s dreams with a new perspective in modern times.
Poonawalla Fincorp MD Abhay Bhutada said, “The film serves as a much-needed breakthrough in the way sibling relationships are viewed in the society. The essence of the campaign stems from the fact that sisters are also equally capable of providing unwavering support to their brothers, be it emotional or tangible. Through this film, we aspire to boost our value proposition as an end-to-end digital lending NBFC that offers instant and hassle-free loan disbursals. Our instant personal loan offerings enable your and your loved one’s dreams.”
Released on the company’s digital channels, the film highlights the endearing bond between a brother and sister by depicting the friendly banter and mischief that ensues in the household. The younger brother is an aspiring fashion designer and dreams of visiting Paris, the fashion capital of the world to excel in his career. On the day of Raksha Bandhan, his elder sister finds out that her brother has qualified for an internship with a design studio in Paris. Overjoyed, she decides to step up and support her brother’s dreams by sponsoring his ticket to Paris, with the help of Poonawalla Fincorp’s collateral-free personal loan offering. The young and budding fashion designer is overwhelmed with emotions and hugs his sister affectionately, expressing his gratitude.
This heart-touching tale signifies the importance of breaking down stereotypical barriers and treating familial relationships and the bond not defined by gender, roles, or any other factors. It also highlights how Poonawalla Fincorp’s convenient and accessible financial solutions empower family members to enable their dreams.
Digital
Content India 2026 opens with a copro pitch, a spice evangelist and a £10,000 prize for Indian storytelling
Dish TV and C21Media’s three-day summit puts seven ambitious projects before an international jury, and two walk away with serious development money
MUMBAI: India’s content industry gathered in Mumbai this March for Content India 2026, a three-day summit organised by Dish TV in partnership with C21Media, and it wasted no time making a statement. The event opened with a Copro Pitch that put seven scripted and unscripted television concepts before an international panel of judges, and by the end of it, two projects had walked away with £10,000 each in marketing prize money from C21Media to support development and international promotion.
The jury, comprising Frank Spotnitz, Fiona Campbell, Rashmi Bajpai, Bal Samra and Rachel Glaister, evaluated a shortlist that ranged from a dark Mumbai comedy-drama about mental health (Dirty Minds, created by Sundar Aaron) to a Delhi coming-of-age mystery (Djinn Patrol, by Neha Sharma and Kilian Irwin), a techno-thriller about a teenage gaming prodigy (Kanpur X Satori, by Suchita Bhatia), an investigative crime drama blending mythology and modern thriller (The Age of Kali, by Shivani Bhatija), a documentary on India’s spice heritage (The Masala Quest, hosted by Sarina Kamini), a documentary on competitive gaming (Respawn: India’s Esports Revolution, by George Mangala Thomas and Sangram Mawari), and a reality-horror competition merging gaming and immersive fear (Scary Goose, by Samar Iqbal).
The session was hosted by Mayank Shekhar.
The two winners were Djinn Patrol, backed by Miura Kite, formerly of Participant Media and known for Chinatown and Keep Sweet: Pray & Obey, with Jaya Entertainment, producers of Real Kashmir Football Club, also attached; and The Masala Quest, created and hosted by Sarina Kamini, an Indian-Australian cook, author and self-described “spice evangelist.”
The summit also unveiled the Content India Trends Report, whose findings made for bracing reading. Daoud Jackson, senior analyst at OMDIA, set the tone: “By 2030, online video in India will nearly double the revenue of traditional TV, becoming the main driver of growth.” He noted that in 2025, India produced a quarter of all YouTube videos globally, overtaking the United States, while Indians collectively spend 117 years daily on YouTube and 72 years on Instagram. Traditional subscription TV is declining as free TV and connected TV gain ground, forcing broadcasters to innovate. “AI-generated content is just 2 per cent of engagement,” Jackson added, “highlighting the dominance of high-quality human content. The key for Indian media companies is scaling while monetising effectively from day one.”
Hannah Walsh, principal analyst at Ampere Analysis, added hard numbers to the picture. India produced over 24,000 titles in January 2026 alone, with 19,000 available internationally. The country now accounts for 12 per cent of Asia-Pacific content spend, up from 8 per cent in 2021, outpacing both Japan and China. Key exporters include JioStar, Zee Entertainment, Sony India, Amazon and Netflix, delivering over 7,500 Indian-produced titles abroad each year. The top importing markets are Saudi Arabia, the UAE, Egypt, the United States and the Philippines. Scripted content dominates globally at 88 per cent, with crime dramas and children’s and family titles performing particularly strongly.
Manoj Dobhal, chief executive and executive director of Dish TV India, framed the summit’s ambition squarely. “Stories don’t need translation. They need a platform, discovery, and reach, local or global,” he said. “India produces more movies than any country, our streaming platforms compete globally, and our tech and creators win international awards. Yet fragmentation slows growth. Producers, platforms, and tech move in different lanes. We need shared spaces, collaboration, and an ecosystem where ideas, technology, and people meet. That is why we built Content India.”
The data, the pitches and the prize money all pointed to the same conclusion: India is not waiting for the world to discover its stories. It is building the infrastructure to sell them.
